Gestalt Composition - Artists2artists Social Network2024-03-29T09:34:24Zhttps://artdeadline.ning.com/forum/topics/gestalt-composition?groupUrl=creativematerials&commentId=3077055%3AComment%3A7405&groupId=3077055%3AGroup%3A1936&feed=yes&xn_auth=noyes, with this approach you c…tag:artdeadline.ning.com,2009-04-26:3077055:Comment:85212009-04-26T10:58:07.313ZJay Zerbehttps://artdeadline.ning.com/profile/JayZerbe
yes, with this approach you cannot be "precious" about any part of the painting. you have to be willing to paint over GREAT paint. ruthlessness is a necessity! otherwise, as you say, the painting gets tight and becomes lifeless. the pain/joy of painting!
yes, with this approach you cannot be "precious" about any part of the painting. you have to be willing to paint over GREAT paint. ruthlessness is a necessity! otherwise, as you say, the painting gets tight and becomes lifeless. the pain/joy of painting! I do that when creating colla…tag:artdeadline.ning.com,2009-04-25:3077055:Comment:83952009-04-25T12:38:53.932Zsarah butcherhttps://artdeadline.ning.com/profile/sarahbutcher
I do that when creating collage. I think the thing with collage or any painting is knowing when to stop. Sometimes I have that gestalt moment but keep on goin'...<br />
because I am have too much fun! One thing about the creative process for me is, I start <i>for me</i> then as I go along I become inhibited because I don't want to ruin the piece and then the piece can get stiff and lose energy. I need to free myself of that.
I do that when creating collage. I think the thing with collage or any painting is knowing when to stop. Sometimes I have that gestalt moment but keep on goin'...<br />
because I am have too much fun! One thing about the creative process for me is, I start <i>for me</i> then as I go along I become inhibited because I don't want to ruin the piece and then the piece can get stiff and lose energy. I need to free myself of that. actually not. although i turn…tag:artdeadline.ning.com,2009-04-20:3077055:Comment:74132009-04-20T17:49:05.668ZJay Zerbehttps://artdeadline.ning.com/profile/JayZerbe
actually not. although i turn them multiple times every day that i work on them, again there is the SNAP. and i see them as finished. because i attempt to downplay facility in my work (otherwise they become WAY too slick), i tend to leave somewhat "unresolved" areas. if i attempt to resolve those, they do dead. therefore, that final SNAP becomes very important. in my head they don't work in any other orientation. but generally artists see them as rotational compositions. if for not other…
actually not. although i turn them multiple times every day that i work on them, again there is the SNAP. and i see them as finished. because i attempt to downplay facility in my work (otherwise they become WAY too slick), i tend to leave somewhat "unresolved" areas. if i attempt to resolve those, they do dead. therefore, that final SNAP becomes very important. in my head they don't work in any other orientation. but generally artists see them as rotational compositions. if for not other reasons than that drips run in 4 different directions! (i try to minimize those too!). heading off to check out your work... That's a wonderful thought...…tag:artdeadline.ning.com,2009-04-20:3077055:Comment:74052009-04-20T17:24:41.008ZMichael Lowniehttps://artdeadline.ning.com/profile/MichaelLownie
That's a wonderful thought...I can feel the snap as you talk about it.<br />
My works are rather minimal but what's interesting is playing with what might seem like a horizon line and turning it sideways...it leaves it up to the viewer whether this makes sense them, in an atmosphere vs structure setting.<br />
In the big picture, I assume some people will hang the works other than the way I present them, and I like that thought. I like that people can change the weight of the gravity and the work still…
That's a wonderful thought...I can feel the snap as you talk about it.<br />
My works are rather minimal but what's interesting is playing with what might seem like a horizon line and turning it sideways...it leaves it up to the viewer whether this makes sense them, in an atmosphere vs structure setting.<br />
In the big picture, I assume some people will hang the works other than the way I present them, and I like that thought. I like that people can change the weight of the gravity and the work still makes sense. It's been a while since I've used complex compositions but I'm off to look at your pics!<br />
<br />
Can people then turn your works any way they want to hang them, if you work on them that way?